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The Romance of Lace 



Its Historical Background 
Its Present Manufacture 
Its Varieties and Uses 



Published by 

Zion Lace Industries 

I. 

O^v/ieJ and Operated by 

Marshall Field & Company 

Chicago 



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Copyright 1920 
Zion Lace Industries 

Owned and Operated by 

Marshall Field & Company 



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We luish to acknoivledge our indebteJness to Mrs. Bury Palliier, 
author of "History of Lace," to Mr. Samuel L. Goldenberg, author oj 
"Lace, Its Origin and History, " and to Ellen T. Masters, author of 

"Art Needle^vork. " 



g)CI,A605G10 



JAN 31 1921 , 




THE LEGEND OF THE ADRIATIC 

CENTURIES ago, so it is told, a young fisherman 
of the Adriatic was betrothed to a beautiful girl 
who wove, in her island home, a strong fishing net for 
her lover. When first he cast it into the sea and lifted 
it from the depths, a wonderful web of glistening sea- 
weed came to the surface beside it. Straightway he 
repaired to the humble home of his fiancee to lay upon 
her doorstep the strange and beautiful gift. Shortly 
was sounded the terrifying call of war, and off went the 
lover, leaving the fishermaid weeping over his gift. 

For many days she sat thinking of her soldier, far 
away, her eyes unconsciously following the interlaced 
strands of the seaweed web. Slowly she unplaited 
them one by one, discovering the secret of the weave; 
and gradually the thought of reproducing it came to 
her. For days she worked with thread following the 
pattern of the beloved gift, until at last a duplicate 
far more beautiful was completed; and thus was 
created bobbin lace! 



VENICE— THE EARLIEST 
LACEMAKING CENTER 

Though legend may be lightly received, more sub- 
stantial evidence indicates that the first piece of lace 
was made in Venice, early in the 16th century — 




the zenith of power of the Venetian Republic. Drastic 
-^ laws were enacted to restrain the wave of extravagance 
~--\ and expenditure following its introduction. Lavish dis- 
play of this exquisite lace approached a mania, and a 
new industry of tremendous proportions had its in- 
ception in the great innovation. 

Presently women of Europe found their fingers flying 
many hours daily at the fascinating, artistic and 
remunerative occupation. Much of the great output 
was produced in convents, where a harvest of gold was 
reaped through never-ending weaving. It was in the 
convents that the finest and most delicate laces were 
made. The work entailed a remarkable degree of 
patience, and artistry of the highest type. In origi- 
nality of design and perfection of detail, convents 
competed to produce the very finest specimens. Some 
of these early pieces are so fine that the threads cannot 
be seen separately with the naked eye, and only when 
a magnifying glass is employed can the mechanism of 
the pattern be discerned. 

FRANCE LEARNED THE ART FROM 
VENETIAN LACEMAKERS 

It was Catherine de Medici who first encouraged 
lacemaking in France. She induced F'rederico Vinciolo, 
a Venetian designer and lacemaker, to come to Paris 
in 1585. The results of his handiwork and that of 
his students were, however, anything but promising, 
until, nearly a century later, Louis XIV patronized 
the industry, causing French lace to rival the Venetian 
in fineness of texture and beauty of design. The king 
ordered that all designs be submitted for his personal 
approval before being made up. A finer lace, more 
pleasing in pattern and delicate of design, was the result. 



So many Italian lacemakers had been lured to France 
with the promise of higher wages, that, in the 17th 
century, the Venetian Senate regarded the departure 
of workers from the republic as a state crime. This 
stringent decree was issued: "If any artist or handi- 
craftsman practices his art in any foreign land, to the 
detriment of the Republic, orders to return will be 
sent him. If he disobeys them, his nearest of kin will 
be put into prison in order that through interest in 
their welfare his obedience may be compelled. If he 
comes back his past offence will be condoned, and 
employment will be found for him in Venice; but if, 
notwithstanding the imprisonment of his nearest of 
kin, he obstinately declines to discontinue living abroad, 
an emissary will be commissioned to kill him, and his 
next of kin will be liberated only on his death." 

Fortunately, no emissaries were commissioned to 
carry out these dire threats. The original experiment 
of bringing lacemakers from Venice to France required 
no repetition, for so many French workers had been 
taught that further tutelage by foreigners was unneces- 
sary. 




LACE IN ENGLAND— 
KATHERINE OF ARAGON 

Crude lace was made in England in the 17th century. 
However, it did not compare with Flemish laces 
being produced at the time, and the English people 
began buying laces from Flanders in such vast quan- 
tities that it was necessary to pass summary laws to 
restrain the extravagance. Distressed at the amount 
of capital being sent to Flanders for laces. Parliament 
in 1662, in an attempt to protect home industries, 
passed a law prohibiting the importation of foreign 



.-- ^1 




laces, and encouraged Flemish lacemakers to settle in 
England. However, the necessary flax was not forth- 
'^i coming; the lace thus produced was of so poor a quality 
I that English merchants finally resolved on the desper- 
, ate recourse of combining to buy the finest laces of the 
i Belgian markets. These were smuggled into England 
j in great quantities and sold under the pseudonym 
"Point d'x^ngleterre." Thus Brussels Point Lace 
H became "English Point" and is still known as such. 
Excluding Honiton, English laces are only reproduc- 
tions of those created in other countries. 

Katherine of Aragon did much to revive the lace 
industry; in fact, it is reported that in a time of business 
depression this queen destroyed her own precious laces 
in order to provide employment for the lace workers. 
Her name is still fondly remembered in many of the 
small villages where her memory is regularly honored 
by festivities on St. Katherine's Day. 

LACEMAKING FLOURISHED DESPITE 
STATE DISAPPROVAL 

Near the middle of the 17th century lawmakers 
feared that the great popularity of lace threatened 
to disrupt society. Many homes had been robbed of 
servants by the industry, and the wearing of lace 
became so common as to tend to remove distinction 
between classes in society. The Parliament of Tou- 
louse, France, issued a decree forbidding all persons, 
irrespective of rank, to wear lace. Throughout Europe 
edict followed edict in quick succession, but they were 
never successfully enforced, and helped only to make 
lace more coveted than ever. 

About 1678 designs characteristic of the locality in 
which they were produced, began to develop. Con- 



sidering the myriads of designs and patterns of laces 
made, it is a noteworthy fact that each piece of lace 
bears certain peculiar characteristics by which a 
connoisseur can identify the specimen both as to its 
native country and approximate age. This is the result 
of the great pride groups of lacemakers took in their 
work. It was their ambition to produce a fabric so 
distinctive, so beautiful and so perfect, that it would 
claim admiration everywhere and bring fame and 
prestige to the locality. No design was too pretentious 
for these ambitious artists to attempt, and a great 
variety of designs were frequently worked out in one 
piece of lace. An entire piece of lace executed by one 
person had a value above those made by several, and 
so the old-time advertisements frequently stated: "All 
made by the same hand." 



LACEMAKING TAUGHT IN THE SCHOOLS 

So esteemed was the new art of needlework, 
near the close of the 17th century, that schools for 
lace instruction were established. Needlecraft was 
considered an important part of every child's educa- 
tion; even small boys were taught to make laces. In 
the very early days of lacemaking children were 
apprenticed to the trade and cruel severities inflicted 
upon them. For long hours at a stretch they were 
kept at work over the pillows, while severe punish- ,' 
ments were inflicted for slightest infringement of rules, d 
The wearing of the filmy fabric became almost a mania. 
Huge, ungainly headdresses, rufi^s, petticoats and waist- 
coats were lavishly bedecked with lace. Nor did the 
rage for lace confine itself to the realm of wearing 
apparel. During the reign of Louis XV thousands of 
yards were used for the decoration of the interiors of 





coaches, for draperies and bedspreads and even for the 
embellishment of bathrooms. 

VALENCIENNES LACES WERE 
WOVEN IN DAMP CELLARS 

Valenciennes, perhaps the best-known and most 
widely-used of all laces, originated as a very delicate 
pillow lace, and has, of itself, a remarkable history. 
The town of Valenciennes, once a section of Flanders, 
was acquired by France in 1668. Flanders is favored by 
nature, for flax grows there abundantly, providing linen 
for the finest threads it is possible to weave. Of these 
the beautiful Valenciennes lace first was made in damp, 
dark cellars, because like Brussels lace, the thread was 
so fine that it could not be spun in a dry atmosphere. 

Valenciennes laces were used lavishly by the court, 
and for wedding and burial costumes. During the 
height of their popularity, between 1725 and 1780, 
there were nearly 4,000 lacemakers in the city, a 
substantial proportion of the entire population. 

However, in 1780 fashion began to change. Lighter 
and less expensive laces of Brussels, Lille and Arras 
became more popular, and when, during the war for 
liberty, foreign occupation decimated Valenciennes' 
population, the wonderful art was nearly lost. 

THE VOGUE FOR ELABORATE 
CHANTILLY LACES 

Chantilly, France, developed during the 17th 
century an elaborate and dressy lace which gained 
immediate favor. The ill-fated Marie .Antoinette used 
this filmy lace for court functions. Much of it was 
smuggled into England. 



10 



Unhappily, however, the manufacture of old Chan- 
tilly and of all needle-point laces was discontinued with 
the French Revolution, not to be revived for a period 
of fifty years. The Revolution caused a decline in the 
pompous display of yards and yards of lace on costumes. 
The taste for the costly web lessened so perceptibly 
that much of it was turned over to servants. Con- 
sequently, when the vogue was revived under the 
Empire, many of the finest fabrics were procured from 
farm houses, masquerade shops, etc. 

OLD BRUSSELS AND OLD MECHLIN 

Brussels is a spot which cannot go unmentioned 
in a resume of the story of lacemaking, for it was 
here that the famous and priceless "Old Brussels" first 
was made. The thread used to produce this lace was 
so extremely fine that it could scarcely be seen with 
the naked eye, and touch alone guided the workers' 
fingers. 

"Old Mechlin," another of the favorites, was an 
exceptionally delicate, transparent web, a great choice 
with English royalties. Queen Mary and Queen 
Anne favored it, its daintiness and lightness fitting it 
best for use on fine muslins and lawns. The industry 
in Mechlin, Belgium, was short-lived, for the pattern 
of its lace was readily adapted to the earlier lace 
machines. 




VENICE— FIRST IN THE PRODUCTION 
OF BEAUTIFUL LACE 

Of all lace centers, Venice, "Queen of the Adriatic," 
held her place as peer, guarding jealously the precious 
secrets by which she produced the most noteworthy 



11 




examples of beautiful laces in existence, laying tribute 
on the entire civilized world and filling the coffers of 
her church to overflowing. In that age the power of 
the church was absolute. It sought to subsidize the 
lace industry, and to keep the precious products exclu- 
sively for adorning altars and the robes of prelates 
and others of high station. The restrictive edicts and 
suppressive measures caused many of the lacemakers 
to flee to Holland, whence some later emigrated to 
England. 

While it appears, in a superficial resume of lace 
history, that the manufacture was centered in France, 
Belgium, England and Italy, fine laces were also made 
in Holland, where its use was carried to great extremes; 
in Austria, Switzerland, Denmark, Sweden, Russia; and 
in Germany, where some claim that Barbara Uttman 
first made pillow laces. 

LACE SMUGGLING WAS A 
FLOURISHING TRADE 

To protect and popularize domestic laces many 
countries forbade importation of laces or placed a 
high tariff on foreign laces. As a result smuggling 
played an important part throughout the early history 
of lacemaking. In the attempt to protect English 
manufactories and prevent smuggling of French laces 
into England, many laws were passed. Customs and 
revenue officers were kept busy examining luggage and 
prying into tailors' shops for foreign-made fabrics. 
In 1752 a large amount of precious lace was seized 
and burned publicly. 

So prevalent had the custom of smuggling become, 
and so desperate were the officials, that when the body 
of the Duke of Devonshire was returned from France, 



12 



revenue officers, after examining the inside of the 
coffin, actually poked the corpse itself, to make sure 
that it was not stuffed with French laces. This may 
not seem so preposterous a procedure when it is known 
that this method of smuggling actually had been tried. 
Smuggling continued rife for many years despite all 
precautions, and the free trade laws of the 19th 
century were the first effective blows in ending the 
traffic. 



THE LACE MACHINE 
REVOLUTIONIZES INDUSTRY 

Only a few specimens of the masterpieces of lace 
of the Renaissance Period are extant today, for the 
making of lace by hand ceased abruptly at the end 
of the 18th century. Lace is still produced by hand 
but not extensively. This, of course, does not imply 
any depreciation in the popularity of lace, for of all 
articles introduced for personal adornment since the 
beginning of time, hardly any has held its place so 
firmly, been so universally accepted, and enjoyed such 
widespread and lasting popularity as lace. 

It was the invention of the lacemaking machine 
that reduced the vast hand-made lace industry. 

The remarkable fabrics now produced on the lace 
machine can scarcely be distinguished from hand-made 
laces even by experts. The lace machine was slowly 
evolved, its development being the result of long years 
of experiment entailing countless disappointments for 
the earnest inventors. The story is replete with 
pathetic tales of men who tried desperately, though 
vainly, to reproduce the personal, human touch. 
Countless types of machines were built and rebuilt, 




13 




and exhaustively tested before a single perfect piece 
of lace was produced. In the history of labor-saving 
devices perhaps none is so filled with records of failures 
as that of the lace machine. The first successful lace 
machine was produced in 1809, the invention of John 
Heathcoa't, an Englishman. 

The intricate and perplexing maze known as the 
Levers Machine of today is actually the product of 
a number of master intellects, and the evolution of 
a century and a half. 

HAND WORKERS BITTERLY 
FOUGHT LACE MACHINE 

Great obstacles had to be overcome — ignorance, 
prejudice and oppression stood, as ever, in the path 
of progress. In this instance, however, there was 
a certain logic in the opposition, for at the time of 
the introduction of the machine, vast numbers of 
human beings were living by the proceeds of their 
hand lacemaking, which had become a widespread, 
interesting and remunerative occupation. The advent 
of the lace machine created an intense feeling of resent- 
ment among the handworkers, who organized societies 
forcibly to suppress the making of lace by machinery. 
So bitter was the opposition that it led to the Luddite 
Riots in Nottingham, England, in 1811, continuing 
for a period of five years. It was impossible for a man 
interested in promoting the machine to live unmolested, 
and the situation became so serious as to necessitate 
the passage of an Act of Parliament in 1812 ordaining 
the death penalty for any man wantonly breaking a 
lace machine. Thousands of lace machines had been 
destroyed, and many of the skilled workers, thereby 



14 



unable to obtain employment, emigrated to America, 
following the example of their persecuted forebears of 
the 16th century. 

AMERICA UNDERTAKES 
LACE MANUFACTURE 

The transporting of the lace machines to xAmerica 
was accomplished under extreme difficulties. Crates 
for export were carefully searched, and all emigrants 
closely watched. However, the important parts ot 
the machines were smuggled piece by piece, the smaller 
pieces frequently being concealed in the clothing of 
the workers. The larger beams and bars were made 
in this country. 

The history of American machine-made lace actually 
begins in 1820 when the pusher machine (immediate 
successor to Heathcoat's Bobbinet) was imported. 
From that year much capital and effort were expended 
in an attempt to establish Massachusetts as the lace- 
making center of America, but hardly had the factory 
looms of Watertown, Boston and Ipswich begun to 
operate, after years of experiment, than the English 
government, fearing the progress of lacemaking in this 
country, so increased the export duties on thread and 
lessened them on finished lace, that the industry in 
America was nipped in the bud, and the workers 
driven to stocking manufacture, while England gained 
control of the American lace market. Fortunately all 
England's efforts to prevent the spread of lacemaking 
in the United States were fruitless, for determined men 
came forward from time to time, established small 
plants and worked willingly under great hardships, 
sometimes with only a single machine. 




15 



FIRST SUCCESSFUL AMERICAN 
LACEMAKING 

THE STORY OF ZION CITY 

' I "*HE first manufacture of lace on a large scale in 
-^ America was accomplished by John Alexander 
Dowie, an evangelist, who founded Zion City and the 
Zion Lace Industries in Illinois in 1900. Besides 
importing the machines, Dr. Dowie brought over from 
England the entire working staff of a factory to carry 
on the work with every possible advantage. His 
ambition was to provide a substantial and interesting 
occupation for his followers while producing the very 
finest laces possible to make on a machine. In launch- 
ing this wonderful enterprise on practically virgin soil, 
Dr. Dowie manifested great courage and determina- 
tion, for at that time foreign laces enjoyed a unique 
position and prestige. 

Even after recruiting his large family of lacemakers, 
bringing them to America and importing the best 
machines. Dr. Dowie met his first American obstacle 
right at the doorstep, for in the fall of 1900 admission 
to the United States was denied his workers on the con- 
tention that their entrance would constitute a viola- 
tion of the alien contract labor law. After a lengthy 
trial. Dr. Dowie won his case on the ground that the 
workers were brought over to introduce a new industry 
and not to engage in an old one. 

This judicial decision, therefore, is conceded official 
recognition of John Alexander Dowie as the founder 
of the lace industry in America. 

On the picturesque shores of Lake Michigan, forty- 
two miles north of Chicago, Zion City was founded. 



16 



A finer setting for the famous lace plant would be 
difficult to conceive. Before it lies a grassy sweep 
of prairie, ending in a line ot low hills at the horizon 
to the West. Beside it to the East lies Lake Michigan, 
lending to the scene its peaceful and imperishable 
beauty. 

The building of Zion City was a gigantic undertak- 
ing, made possible only because of the fixity of pur- 
pose of the workers, whose simple lives were devoted 
to the making of beautiful lace. 

Within the plant itself, acknowledged by experi-- 
enced men to be the finest lace factory in the world, 
spacious rooms and high ceilings afforded an abun- 
dance of light and air. Nothing which would con- 
tribute to the comfort, physical welfare and happiness 
of the employes was omitted. Through hundreds of 
windows streamed the warm sun, while cool lake 
breezes kept the temperature always enjoyable. 
Throughout the plant was an atmosphere of conge- 
niality, co-operation and willing industry seldom found 
in a manufacturing establishment. The workers them- 
selves formed a picturesque chapter in the history of 
Zion; their quaint and pleasing accent, earnestness, 
unusual skill at their tasks, and love of the work all 
contributing to differentiate them from the average 
working staff of a factory. Plying their sundry tasks 
with dainty, snow-white caps of lace ends, they make 
an impression not soon to be forgotten. 

In Europe, lace manufacture is carried on in separate 
branches, weaving, bleaching, dressing and finishing be- 
ing distinct industries. A radical improvement over 
this method of producing lace obtained at Zion City, 
where the entire piece, from spun thread to the finished 
bolt, was made in the one building. By this method a 



17 



great saving was effected in operating costs, which 
were reduced to a minimum, but one overhead and 
one profit being charged against the goods. This 
explains how today it is possible to sell Zion Laces of 
such quality at a comparatively low price. 

MARSHALL FIELD & COMPANY 
ACQUIRES THE INDUSTRY 

So great was the impetus given the industry at 
its birth that it showed promise of flourishing. The 
modest selling prices and unusual merit of the 
laces — frequently being so perfect as actually to ex- 
ceed in beauty many hand-made fabrics — won imme- 
diate recognition for Zion products. To carry on the 
work a large amount of capital was necessary. The 
full extent of the financial requirements evidently had 
not been anticipated, and the wonderful building and 
all its contents passed into the hands of a receiver and 
was offered for sale. 

On September the 1st, 1907, Marshall Field & Com- 
pany purchased the plant from the receiver, and began 
operating at once. From that time the entire industry 
took on a new enthusiasm. Depression due to finan- 
cial uncertainty was dispelled; every known improve- 
ment was installed and new ones perfected. Two 
artesian wells were sunk on the property in order to 
insure a supply of pure water especially adapted for 
bleaching the laces. 

In order to secure an equipment which would make 
possible the manufacture of the finest laces, new ma- 
chinery was imported and set up; and while retaining 
almost all of the original workers from abroad, the 
personnel of the plant was practically doubled. 



18 



a&i^ 




How Zion Laces 
Are Created 





\ 



TTIGHLY-SKILLED designers origi- 
J- J- nate the beautiful pattefns compris- 
ing the Zion lace line of Marshall Field & 
Company. So delicate and specialized is 
this most-important phase of the work, 
that abroad, boys are apprenticed to it 
for seven years; and to become an ex- 
pert draftsman requires a lifetime of study. 

At every step the science of lacemaking 
demands the most skilled workers obtain- 
able and since this art originated in the 
old world and reached a high stage ot 
development there, it is these native 
people who are the more adept at the 
work. That is why, in order to create the 
very finest laces possible to make on a 
machine, both the marvelous machinery 
and the majority of the workers them- 
selves, were brought to Zion City from 
England and France. 

Absolute accuracy is essential; and much 
care and thought are bestowed upon the 
designs, which are selected or rejected 
according to their beauty and adaptability. 



20 




"I^T'HEN the design is completed, it is 
* * enlarged, and transferred to a finely- 
checkered chart, on which hundreds of 
numerals appear, representing the separate 
threads of which the lace is woven and 
decipherable only to an experienced lace 
man. 

This chart is placed before the puncher 
who transfers the pattern to strips of 
cardboard by means of a perforating 
machine. When these strips are sewed 
together after the style of a chain belt and 
attached to the lace machine, their func- 
tion is much the same in principle as the 
music roll on the player piano. The per- 
forations regulate the fall of needles in- 
the machine which in turn regulate the ' 
threads in their ceaseless moving back 
and forth, as the bobbins swing in and out. 

The entire process of making lace is so 
intricate, so highly technical and complex 
that even close observation of the machine 
in actual operation fails to unravel the 
mysteries and marvels of its performance. 




^' 



21 





T^HE COTTON from which the fine 
-■- laces are woven is of two varieties: the 
choicest, long-staple Sea-Island, grown on 
the islands off our Carolina shores, and 
Egyptian cotton from Egypt. Only long 
fibres of extra-good quality are acceptable. 
After being spun in England, it is imported 
into the United States in great bales of 
skeins. The skeins of very fine yarn com- 
prise 92,400 yards to the pound. 

Immediately on arrival the yarn is 
tested for any possible weaknesses or 
imperfections in the thread. It is essential 
that these threads be evenly spun and of 
uniform strength, for in the process of lace- 
making they are subjected to great strain 
and powerful tension. Some idea of the 
splendid stock of this thread may be 
gained from the knowledge that thread as 
fine as No. 220 is used successfully on 
Zion lace machines. It is the remarkable 
strength of the thread used that accounts 
for the wearing qualities of Zion laces, 
which stand up under repeated launderings. 



22 







AFTER inspection the skeins of yarn are 
- placed on revolving racks to be 
wound by machinery onto spools. One 
machine can wind 300,000 yards a day, 
the operator's sole duty being to watch 
for broken threads and to tie them. Her 
fingers must be nimble and her eyes alert 
to detect a break in the scores of flying 
lines of fine thread. 

Above is an illustration of the large 
mill onto which the yarn is wound from 
the spools arranged on the semi-circular 
rack. This machine works at a tremen- 
dous speed, revolving with a merry sing- 
song whirr. Consider the perfection of 'I'^^^i 
mechanism and operation required "- 
throughout the industry to handle so vast 
a number of fine threads with the utmost 
efficiency. The slightest hitch of a single 
part of this complicated machinery might 
snap hundreds of threads, necessitating 
many hours of extra labor; hence the im- 
portance of perfect equipment to the 
minutest detail. 







F/ 



23 





THIS picture shows the huge beam 
onto which the thread is finally wound 
before it is put into the machine. It forms a 
body, constituting the warp of the fabric. 

When the beam is wound, workmen 
proceed to thread the great lace machine 
by hand, working from specifications pre- 
pared by the draftsmen. Each of the 
8,000 tiny threads must be carried up 
with extreme precision, put into its proper 
place, and firmly moored. 

It takes two skilled workers two weeks 
to thread the lacemaking machine. If 
placed end to end, the yarns used to thread 
one machine would reach from New York 
to San Francisco and back again. 

Gazing upon this remarkable creation 
of the brain of man, one is carried back 
to the days of fairy stories; tales of genii 
with magic wands are revived in memory 
as the wonderful machine stands ready 
to perform its lacemaking miracles. 



24 




EACH great^lace machine requires 
approximately 4,000 bobbins. This 
photograph shows the operators winding 
bobbins, all of which must hold the yarn 
with uniform tension in the machine. 

The bobbins — smooth, flat circular discs 
of specially-prepared brass — are wound 
from spools arranged in a semi-circular 
rack. About 120 bobbins are wound at a 
time, with about 120 yards of thread to a 
bobbin. 

After being wound, the bobbins are 
stacked in piles and subjected to 20-ton 
pressure in order to make them as compact 
as possible. 

From the press the stack of bobbins is 
put into the steaming oven under 80 >- ;^^ 
poundsof pressure of steam for 15 minutes, fl "^ ^ 
This prevents the bobbins from opening 
again when the pressure is removed. The 
bobbins then go to the cooling chamber 
for another hour before they are finally 
ready for their part in the performance. 




25 





HERE is the great machine, weighing 
16,000 pounds, hand-threaded from 
warp on the beam, perforated cards at- 
tached in an endless revolving chain, the 
"droppers" on their monotonous course up 
and down over the holes in the cards which 
regulate the individual threads — 32,000 
special metal sentinels on guard as it per- 
forms its lacemaking feats. 

The huge roller above, on which the lace 
winds itself as it is finished, is 170 to 224 
inches from end to end, and fitted with 
tiny steel needles similar to porcupine 
quills, though very short. These hold 
the lace in place, keep it smooth and 
prevent it from "stuffing" while winding. 
Twenty-nine to 354 widths (depending on 
the size of the single width) can be made 
on this roller, to a length of sixty yards. 

The lace machine enables millions of 
people to enjoy possession of beautiful laces 
which might otherwise be far beyond reach 
of their purses. 



26 




'T^HE average length of lace, thirty yards, 
J- is woven in 30 hours. Workmen then 
unwind the lace from the machine, and pile 
it in great white heaps. 

However, the beautiful fabric is not 
yet nearly completed or ready for the 
market. There is still an entire series of 
finishing processes to be gone through 
before the lace is ready to leave the Zion 
Lace Industries. 

In the mending room, to which it is 
first sent, bright-eyed girls and women 
watch for the slightest defect or tear in 
the material as it passes over smooth, 
dark-topped tables. When the smallest 
flaw is seen a loose knot is tied to indicate 
the section to the menders. Where rents 
occur which are clean cuts, some of the 
mending is done by machinery, but the 
major part is hand-sewed, the pattern 
being reproduced exactly by the clever 
needleworkers. 




27 




m 







'T^HIS shows a section of the large room 
-■- in which all laces are washed and 
bleached. 

The great lengths of lace come from the 
mending room through large, white por- 
celain-lined tubes attached to the ceiling. 
As the lace drops from the tubes, it falls 
into great tubs where it is pounded by 
heavy wooden blocks or dollies by machin- 
ery. Caustics, soap and soda are used in 
scouring the lace. 

The washing process, in another tub, is 
also carried on on the same principle — 
pounding of electrically-operated wooden 
mallets on the fabric to loosen the dirt. 
It is then bleached with solutions of lime 
and acid. After rewashing, the goods go 
into the centrifugal wringer where swiftly- 
revolving circular plates making 3,000 
revolutions per minute whirl it against 
the smooth, curved sides, wringing the 
water out without injury to the lace. 



28 




AFTER coming from the wringer, the 
laces are run through a thin solution 
of starch to give them body and dress. 

Then the great spread is ready for the 
long drying frame. It takes many workers 
to hold the mass of material off the floor 
and adjust it to the sides of the mammoth 
frame, which is fashioned like a curtain 
stretcher. 

After it is put on the pins, the entire side 
of the stretcher is moved out with a crank, 
thus stretching the lace as wide as required 
to bring out the pattern. 

Large electric fans attached to the 
ceiling waft heated air over the material, 
which dries quickly and evenly, resembling 
a beautiful, snow-white bedspread. The 
laces are woven, washed, starched and 
dried in one large piece, as this facilitates 
handling. The individual lengths of lace 
making up the great sheet are joined only 
by a loose draw-thread which is later 
removed. 




29 





A BLOCK LONG is the finishing room. 
-^^ Here the beautiful web is drawn, and 
the breadths are separated by pulling the 
threads between them. The lace is then 
carefully clipped by hand, and all super- 
fluous threads removed. The next process 
is to handcut the scallops before the laces 
are ready to be measured and carded. 

The last two operations are performed 
in quick order by one machine. 

The final touch is to slip in a shiny laven- 
der paper sheet, over which the outer rows 
of lace are folded by hand and pinned, to 
show up the attractive Zion patterns to 
best advantage. 

When placed in dust-proof transparent 
envelopes Zion laces are ready to be dis- 
tributed throughout the nation. That they 
fully justify all the efl^ort and expense put 
forth in their manufacture, is evidenced by 
the tremendous sales and manifold uses of 
these laces. 



30 






-f-~' 



Glossary 

of the More 

Familiar Laces 




A Zion Allon.'er Lace 




T_rERE are mentioned a few of the best- 
known laces, most of which are now 
machine-made with almost incredible per- 
fection. 

ALENCON 

o 

A fine, rare, needle-point lace first made 
in Alengon, France. This was the only 
French lace not made upon the pillow. 
It is finer, more even and more closely 
woven than any other point lace. Of ex- 
quisite beauty and daintiness. Very cred- 
itable examples of Alengon laces are now 
made by machinery. The extraordinary 
fineness of this lace makes machine- 
produced specimens notable scientific 
achievements. 

ALLOVER 

This is lace of any kind eighteen inches 
or more in width, in which the design is 
repeated throughout the fabric, and where 
there is no edging. Used for pillow covers, 
dresser scarfs, heavy flouncings, yokes, etc. 
Beautiful Allover laces are made at Zion 
City. 



32 




yi Zioii Canick-l^la-Cross 



APPLIQUE 

An elegant double-layer lace with plain 
net ground onto which a web of lace flow- 
ers, sprigs or leaves is attached, producing 
a very rich effect. Beautiful machine- 
made Applique laces are much in demand 
for trimmings. 

BRUSSELS 

An extra-fine, elaborate, famous lace 
made in or about Brussels. This is now 
extremely rare. In the original Brussels 
the pattern was first made, and the ground 
worked in around it later. "Old Brussels" 
lace is a masterpiece of needlecraft. The 
term "Brussels lace" now includes Duch- 
esse, Point Gaze and other laces made in 
Brussels. This is solely a decorative lace. 

CARRICK-MA-CROSS 

This lace was'first produced in the Irish 
town of that name. It is a guipure or an 
applique of thin muslin worked on a net 
ground. Solid roses and shamrocks pre-^^ 
dominate in the pattern outlined by a 
raised thread. After the applique work is 
done on the net ground, the rest of the 




iZ 




A '/.ion Point Binche 




muslin not forming the pattern is cut away. 
In Carrick-Ma-Cross guipure the design 
is traced on muslin or lawn; outlined, and 
the spaces outside of the pattern filled in 
with brides and openwork. As made by 
hand, this is a rather fragile lace and does 
not wear well. However, the beautiful 
Zion Carrick-Ma-Cross is far more durable 
— as are all fine machine-made laces — it 
being impossible to produce lace on a 
machine with poor, fragile thread. Car- 
«^^ rick-Ma-Cross trimmings are much sought 
after and admired. 

CHANTILLY 

Is one of the most favored of laces, 
worked in silk in elaborate designs. It is a 
blonde lace, rich with festoons and flowers, 
made in openwork instead of being worked 
solidly. Black Chantilly is very popular. 
During the 17th Century the Duchesse of 
Longueville established the manufacture of 
silk lace at Chantilly and its environs. 
Chantilly was a first choice with royalty, 
and has maintained a great popularity. 
At the time of the Revolution many of 



34 




A '/.ion Cluny 



the lacemakers were sent to the guillotine. 
The manufacture of Chantilly lace was 
then discontinued, but revived with the 
Empire, at which time it enjoyed its 
greatest popularity. The lace industry 
was obliged to leave Chantilly because of 
the increase in the cost of labor; and now a 
lace similar in material, design and execu- 
tion is made at Calvodos, Caen, and 
Bayeux. Beautiful machine-made Chan- 
tilly is in extensive use. 

CLUNY 

Has a heavy net background in which the 
stitch is darned. It derives its name from 
the Museum of Antiquities in the Hotel 
Cluny, Paris, because this lace originally 
had a rather medieval appearance. Its 
patterns were usually of quaint or antique 
design, woven to preserve old traditions; 
birds, animals and flowers predominating. 
Cluny is now usually made in cotton and 
somewhat resembles the Maltese. Modern 
Cluny is a very durable lace, rather simple 
of pattern. Finer Cluny laces are exten- 
sively used for trimming undergarments. 




35 




A 'Awn Duchesse 




DUCHESSE 

This rich lace, originally made in Bel- 
gium, is worked with a fine thread, and 
characterized by a lavish amount of raised 
work, festoons, leaves, etc., of bold design. 
It is elaborate and effective. Machine- 
made Duchesse of the present day is a mar- 
vel of accomplishment,Zion examples being 
especially noteworthy and widely used for 
dress and hat embellishment, rich boudoir 
adornment. 

POINT D'ANGLETERRE 

This lace is neither English, nor is it 
point lace, but a pillow lace made in the 
eighteenth century in Flanders. Why it 
was called "Point d'Angleterre" is not 
clear. The English point of today is the 
finest quality of Brussels lace, a needle- 
point relief applied to Brussels bobbin 
ground. Zion English Point is an exqui- 
site fabric, much in demand for fine trim- 
mings, negligees, neckwear, etc. 

FILET 

A square-mesh lace of conventional 
design in which the pattern is "filled in" 



36 




A Zion Filet 



in square blocks with flat efl^ect. A wide 
variety of fine, medium and heavy filets 
are produced at Zion City. Filet has 
always held a prominent place with lace 
lovers, being always in good taste and 
suitable to a range of purposes. Dainty 
Filet patterns are expressive of refinement, 
especially adapted for blouse trimming and 
lingerie, while thousands of yards of the 
heavier Filets are used regularly for bed sets, 
skirt flouncings, lamp-shade covers, etc. 

HONITON 

A pillow lace originally made at Honi- 
ton, Devonshire, England; similar to 
Duchesse. Honiton is celebrated for the 
beauty ol its sprays and figures. Its his- ( 
tory is obscure; doubt still exists as to 
its real origin, some authorities attributing 
it to England, while others contend that it 
was brought from Flanders by Protestant 
immigrants, fleeing from persecution. Few 
specimens of Honiton are in existence now. 

IRISH 

All laces made in Ireland come under 
this heading, the three principal examples 




37 




.■/ '/.iou Maltese 




being the "embroideries" of Limerick, the 
famous Irish Crochet and the Carrick-Ma- 
Cross. Irish Crochet resembles the needle- 
point laces of Spain and Venice in general 
effect. In 1743 the Royal Dublin Society 
established prizes for excellence in lace- 
making, and in 1829 a lace school was 
opened in Limerick. The Irish have not 
developed a lace strictly national, but have 
copied very cleverly the foreign patterns, 
which have gradually become assimilated 
into Irish lacemaking, and are now 
popularly thought of as of Irish origin. 
Very fine Irish laces are now machine- 
made. 

MALTESE 

A bobbin pattern lace made in white or 
black silk, originally from the island of 
Malta. The earliest Maltese lace was of 
coarse pattern and texture, but since the 
importation of Genoese lacemakers, has 
been improved notably. A characteristic 
of Maltese lace is the unique and dis- 
tinctive Maltese Cross, showing in the 
pattern. Maltese Zion lace comes in sets 
of narrow, medium and wide to match, for 



38 




A /ion Diamond Mesh ' '/V//' ' 



trousseaux, sets of undergarments, and all 
manner of trimming. 

MALINES OR MECHLIN 

An extremely fine and very costly pillow 
lace originating in Malines, Belgium. A 
narrow, flat thread or cord outlines the 
fine pattern on a net ground of hexagonal 
mesh. This lace is not applique, being 
made in one piece. As with other fine and 
rare laces, its manufacture suffered with 
the Revolution, but was revived and en- 
couraged under Napoleon. Modern Mech- 
lins of the finest texture pay tribute to the 
wonderful development of the lace machine. 

PASSEMENT 

This is an old French word including in its 
full sense laces and embroideries, but of late 
it has come to mean a decorative edging, ~""'^T~'\ \ I_ 

primarily a gimp or braid. This term"pas- ■^^^^^^; \^^ 
sement" was first applied to the old class of F'* f-ag^-Lsf^Aj 
pillowlaces when they were of comparative- ^/ j F;*y| 

ly simple pattern. | « Wf' 

PILLOW ---^^^' ' 

Lace made on a cushion, pattern and 
mesh being hand made, without a needle. 




39 




A Ziofi Poifit Je Pttris 






9^ 







POINT DE GAZE 

A very tine, gauze-like lace, made entire- 
ly with the needle, much finer and more 
fragile than the old point lace, and very 
sumptuous in appearance. A delicate 
dainty and wonderful example of needle- 
craft. Its pattern, instead of being bound- 
ed with a narrow, raised cord, is outlined 
with a thread. 

POINT DE PARIS 

This lace was a narrow pillow lace not 
unlike Brussels, but as now made by 
machine, is of cotton. It is a very rich 
lace, made on a net ground with figures 
outlined with heavy thread. Point de 
Paris is distinguished by the net, which is 
of hexagonal mesh. 

SPANISH 

"Spanish" is a misleading name. The 
machine-made black and white silk laces 
called Spanish came from Lyons and 
Calais, France, while Italian laces also 
have been termed "Spanish Point." How- 
ever, one authentic Spanish lace is a coarse 



40 




A '/ion Torchon 



pillow guipure loosely woven ot white, 
gold and silver threads. During the in- 
vasion of Napoleon many laces in Spain 
were confiscated from the churches and 
disposed of in various markets as Spanish 
laces, though the majority were not such. 
The most famous Spanish laces are Rose 
Point, Point d'Espagne, and the Blonde 
laces. Rose Point is made only by 
hand, and resembles closely Venetian 
Point, sometimes assumed to be a variety 
of Venetian lace. The similarity is ac- 
counted for by the fact that this kind of 
lace was produced by nuns who were trans- 
ferred from one country to another, bring- 
ing with them the secret of their art. The 
raised Rose Points are recognizable by their 
thick cordonnet or outlining of the pattern. 

THREAD LACE 

The old Thread lace, now extinct, was 
made from linen thread, as distinguished 
from silk and cotton laces. 

TORCHON 

A heavy pillow lace of strong, loosely- 
woven thread. The design is very simple, 




41 




A /ion Roiiihi Mfs/i I'li/eficiennes 




on a coarse net ground. Zion-made Tor- 
chons are extensively used for curtains, 
pillow-case edging, children's dresses and 
underwear. 

VALENCIENNES OR "VAL" 

This best-known of all laces was first 
made in the town of Valenciennes, formerly 
part of Flanders, later given to France by 
treaty. This very popular and widely- 
used lace is a firm, yet dainty pillow fabric 
woven of the same kind of thread, both for 
ground and pattern — originally of round 
'■'i' 4; mesh, very open and regular, but now 
machine-made in round, diamond, and 
square, or filet mesh. At first this lace 
was made in dark, damp cellars, like 
Brussels lace, the thread being so fine that 
it could not be woven in a dry atmosphere. 
No lace is so expensive to make, because 
of the number of bobbins required. It is 
remarkable for its beauty of design and 
ground, its evenness, lightness and strength. 
Solidity and elegance gave Valenciennes 
laces a great prestige, and they became 
heirlooms in many families. These pretty 



42 



A '/ion Antique 






laces have not fluctuated in favor, retain- 
ing and even augmenting their popularity. 
A wide assortment of beautiful Valenci- 
ennes laces is made at Zion City. 

VENICE 

Original Venice lace was made in Venice 
and called "Rose Point." This elegant 
fabric was the most sought-after lace of the 
seventeenth century, no cavalier being 
considered properly dressed without some 
of it adorning his costume. "Rose Point" 
has been termed " Most beautiful of laces," 
and is, indeed, a very exquisite article, 
made in a great variety of complicated 
stitches. The thread used is rather heavy, 
and is woven into a thin silk or cloth 
ground. When the lace is finished, the 

background is burned out with acids. 

Many kinds of Venice laces other than f'-JTy-__^^_^- 
Rose Point are machine-made and sold *•..ix:>^.:^. 
abundantly because of their beauty and 
durability. i 







43 



ZION LACES 

' I ""HE creation of a piece of lace is, in many respects, 
-*■ like the development of a work of art. There is 
first an inspiration, then a sketch or trial draught, 
next a pattern enlargement, and finally — woven on a 
loom — a specimen of the finished product. 

Those who have never visualized the marvel of 
lacemaking wonder that such intricate weaving can 
be sold at so low a price. Those who have visited the 
Zion Lace Industries or who have witnessed the work- 
ings of similar industries, still less are able to under- 
stand the low cost of the dainty fabrics. 

F^qually a surprising revelation to the layman at 
first contact are the operations of the Zion Lace Mill. 
When University classes, textile study classes, and 
members of women's clubs visit the mill and are con- 
ducted through buildings covering more than a city 
block, they are astounded at the variety and number 
of elements that enter into the production of even the 
simplest lace designs. The gigantic size of the industry 
with its manifold ramifications and hundreds of 
workers, the ponderousness of the big lace weaving 
machines with their myriad of threads and countless 
perforated guide-cards, and the wealth of embodied 
thought, precision, and scientific workmanship, appar- 
ent at every side, amaze the sightseer at first view. 

All this is essential in reproducing laces of the hand- 
made type to sell at the prices at which Zion laces are 
sold — all this, coupled with the inventive genius and 
the stored-up knowledge of many generations of lace- 
making which is the possession of the workers at the 
Zion City factories. 

The directing power of this great industry — the 
very soul of its existence — is the designer and draughts- 
man upon whose skill and artistry the success of the 
organization is predicated. The designer lays the 
framework for his lace patterns far ahead of the time 
when they are to be used. Embodied in each pictured 
design is far more thought than is represented on the 
face of the finished pattern. Frequently the designs 
require months of preparation — all this labor and 

44 



study before the first piece can be given its material 
shape. 

A notable thing about the Zion Lace Industries is 
the inclusiveness of its activities. Abroad it is the 
custom for factories to specialize in some particular 
phase of the industry — winding reels, making the lace, 
bleaching the product or finishing it. In the Zion 
Lace factory every one of these distinct processes is 
carried on in collaboration with all the rest, permit- 
ting an efficiency of operation heretofore not achieved. 

Separated, as it is, by thousands of miles from any 
similar industry, the Zion Lace Industries are oper- 
ating steadily and efficiently season after season, 
developing finer qualities and increasing excellence in 
their output. Continually progressing, they have been 
enabled through constant development to set up a 
standard of quality and design which has established 
a precedent in the manufacture of laces in America. 

In addition to their own progressiveness, they have 
had the backing of Marshall Field & Company with 
its experience in laces gained through a half century's 
commercial enterprise. Atop of that they have had 
the active, all-year round assistance in the gathering 
of new ideas and information, of the world-encircling 
agencies of Marshall Field & Company. These com- 
bined factors have prevented the making of costly 
mistakes and have placed Zion Lace styles in the 
\'anguard of origination. 



45 



LIBRARY OF CONGRESS 



018 452 370 A 









mm 



